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The explosive growth in photography book publishing has presented photo-eye with an interesting challenge along with what we think is an exciting opportunity.
How can we continue to offer an ever-increasing inventory of photography books, keep those books continuously in stock and compete with the online deep discounters on price and shipping? The answer is that we can shift much our fullfillment to the web's most efficient book operation, Amazon.com.
Now we are happy to offer you Amazon's discounts on books which are almost always in stock from either Amazon directly or Amazon Marketplace. We can also provide you with the same shipping options that Amazon provides, including on qualified orders, free shipping.
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However, you may still opt to purchase a particular title from photo-eye directly even though the same book is available through Amazon at a less expensive price.
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Provoke co-founder Takuma Nakahira's long awaited photobook is now released, 45 years after his installation at The National Museum of Modern Art, Tokyo.
Takuma Nakahira’s series Overflow was originally presented as an installation during the 1974 exhibition Fifteen Photographers Today (National Museum of Modern Art, Tokyo). The work consisted of 48 color photographs that were arranged on a wall 6 meters wide and 1.6 meters high. The photobook Overflow is the first chance to view Nakahira’s astonishing series outside the context of an exhibition.
The photographs show elements of a city — eery rifts in a space overflowing with objects, commodities and information — that Nakahira encountered and captured in his everyday life, from ivy creeping across walls and manhole covers in the streets to the tire of a large truck, from a pale-bellied shark floating in the transparent darkness behind the glass of an aquarium to close-up shots of a subway station.
The photobook’s layout strictly mimics each photo’s position in the installation piece in order to replicate the series’ original experience within the confines of a book. Additionally, Princeton University lecturer Franz K. Prichard contributes an extensive essay in which he compares the Overflow series with Nakahira’s vision of an ‘illustrated dictionary’ (as outlined in Nakahira’s 1973 essay ‘Why an Illustrated Botanical Dictionary?’), thereby offering a deep exploration of Takuma Nakahira, who integrated praxis and theory in his work like no one else.
“Overflow compels us as viewers to see the interplay of a seemingly random distribution of fragments, surfaces and residues. And in so doing, we are made to sense the undifferentiated enumeration of parts of an incomplete whole. This is, if you recall, the definition of the ‘illustrated dictionary’ form that Nakahira provided in the essay ‘Why an Illustrated Botanical Dictionary?’” — from Franz K. Prichard’s essay
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